Literature History Card Author: William Shakespeare Title
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An Interpretation of Iago
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1953 An Interpretation of Iago Daniel Clayton Schario Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Schario, Daniel Clayton, "An Interpretation of Iago" (1953). Master's Theses. 1271. https://ecommons.luc.edu/luc_theses/1271 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1953 Daniel Clayton Schario .u DfBRPRE!ATION OF' IAGO 'tIJ D. Cla7ton Scha.r1o.. S. J' • A !besi. Submitted to the Pacult,. or the Graduate School of L0'101a Un!veNi t7 in Partial J\1ltl1lllent of the Req,u1Jl1bente to." the DegHe of Master ot Art. LIFE DanIel Clayton Seharl0, S. J., was bom In Canton, Ohio, April 15, 1923. He was graduated from Oanton McKinley High School, June, 1941. After graduation, he spent one year at st. Mary's College, St. Mary Kentucky, before entering the NoVitiate of the Sacred Heart, Miltord, Ohio, in August, 1943. He was graduated tram Loyola University with the degree ot Bachelor ot Arts in June, 1948. At this tIme, he enrolled in the Graduate School ot Loyola UniversIty and took courses in English and Philolophy. Since 1950, the author has been teaching English at the UniversIty ot Detroit High School, Detroit, Miohigan. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
Jealousy and Destruction in William Shakespeare's
Crossing the Border: International Journal of Interdisciplinary Studies Volume 4; Number 1; 15 April 2016 ISSN 2350-8752 (Print); ISSN 2350-8922 (Online) JEALOUSY AND DESTRUCTION IN WILLIAM SHAKESPEARE’S OTHELLO Ram Prasad Rai (Nepal) ABSTRACT Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior o! cer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is pos- sible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously makes Desdemona’s handkerchief, a marriage gi" from Othello, reach in Cassio through Emilia. # en he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. # ey are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior o! cer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself a" er he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other. -
Othello, a Tragedy Act 1: Palace
Othello, A Tragedy Act 1: Palace Set - The Duke's Court Iago and Roderigo have started a rumor that Othello won over Desdemona through witchcraft. Before the Duke of Venice, Othello explains that he won Desdemona through his stories of adventure and war. Desdemona confirms this, and insists that she loves Othello. Act 2: Street Set - A Drunkard's Bar Iago gets Cassio drunk and convinces him to start a fight with a rival officer, Roderigo. Cassio accidentally wounds the Governor, and Othello is summoned. Iago tells Othello that it was Cassio that started the fight, and Othello strips Cassio of his title. Iago then tells Cassio that he should attempt to win over Othello through Desdemona. Act 3: Palace Set - Royal Chambers Cassio appeals to Desdemona to help him earn Othello's forgiveness. He leaves before Othello returns, however, and Iago uses this to convince Othello that Desdemona has betrayed him with Cassio. Desedemona makes things worse by attempting to convince Othello to forgive Cassio. Iago steals Desdemona's handkerchief and plants it on Cassio. Act 4: Palace Set - Private Chambers Othello growing suspicious of Desdemona, asks Iago for evidence. Iago suggests that he has seen Cassio with Desdemona's handkerchief. Othello asks Desdemona for her handkerchief, which she confesses that she has lost, and attempts to change the subject by pleading Cassio's case. Act 5: Palace Set - Private Chambers Othello confronts Desdemona, but does not believe her story. He kills her. After her death, he realizes what has happened and confronts Iago. They duel and both are wounded. -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
IAGO – 1St Soliloquy Thus Do I Ever Make My Fool My Purse. for I Mine
IAGO – 1st Soliloquy Thus do I ever make my fool my purse. For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit. I hate the Moor, And it is thought abroad that ’twixt my sheets He’s done my office. I know not if ’t be true, But I, for mere suspicion in that kind, Will do as if for surety. He holds me well. The better shall my purpose work on him. Cassio’s a proper man. Let me see now, To get his place and to plume up my will In double knavery. How? How? Let’s see. After some time, to abuse Othello’s ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature That thinks men honest that but seem to be so, And will as tenderly be led by th' nose As asses are. I have ’t. It is engendered! Hell and night Must bring this monstrous birth to the world’s light. IAGO – 2nd Soliloquy That Cassio loves her, I do well believe ’t. That she loves him, ’tis apt and of great credit. The Moor, howbeit that I endure him not, Is of a constant, loving, noble nature, And I dare think he’ll prove to Desdemona A most dear husband. Now, I do love her too, Not out of absolute lust—though peradventure I stand accountant for as great a sin— But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leaped into my seat. -
Drama at the First Time Played on the Ancient Greeks Was Performing
CHAPTER I INTRODUCTION A. Background of the Study Drama at the first time played on the ancient Greeks was performing the works of Aeschylus and Sophocles. The drama related with something religious rituals and folk celebrations across the world which has elements of the theatrical. They are the deep roots of drama. While in modern drama acted on the stage, there are a lot of combination and mixture between elements that support the soul on each scene. Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue. In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience (Dean (1961) in http://www.ehow.com/facts_5192884_introduction-drama.html). But before the act on the stage, the actor must know the guideline of their dialogue on the script. The script is the main weapon used by the director, the actor, the music player and also setting team, where they worked together to solve what kind of situation appears on each scene within 1 the script. To read the script effectively, the actor needs to hear and see the character immediacy and to remain open and sensitive not only to what they do and say but what is implied or suggested by what they do and say. -
Plot Overview
Plot Overview O THELLO begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him in his suit to Desdemona. But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier Michael Cassio. Unseen, Iago and Roderigo cry out to Brabanzio that his daughter Desdemona has been stolen by and married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries back to Othello before Brabanzio sees him. At Othello‘s lodgings, Cassio arrives with an urgent message from the duke: Othello‘s help is needed in the matter of the imminent Turkish invasion of Cyprus. Not long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter by witchcraft. When he finds out that Othello is on his way to speak with the duke, -Brabanzio decides to go along and accuse Othello before the assembled senate. Brabanzio‘s plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the stories of his adventures in travel and war. The duke finds Othello‘s explanation convincing, and Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that her allegiance is now to her husband. -
Shakespeare's Timeless Tragedy in a Stunning New Light
April 3 – May 6, 2012 Shakespeare’s timeless tragedy in a stunning new light. Photo: Brian Ach Design: Todd Edward Ivins OTHELLO STUDY GUIDE Milwaukee Repertory Theater presents Othello Study Guide written by April 3 –May 6, 2012 Quadracci Powerhouse Leda Hoffmann By William Shakespeare Education Coordinator Directed by Artistic Director Mark Clements Study Guide edited by Brent Hazelton “Othello is a play that I have wanted to do for Associate Artistic Director a very long time. Shakespeare was the greatest Jenny Kostreva writer of his time and nobody has eclipsed his Education Director skills, I believe, in over 400 years. His plays still Lisa Fulton tell the greatest stories and influence modern Marketing Director movies and plays we see today. Othello is one Neal Esterling such story that explores the Education Assistant human condition of jealousy. It Jordan Hunt is a thriller that will be set with a Education Intern very contemporary feel, making Graphic Design by Shakespeare’s text live for today.” Megan Gadient -Mark Clements, Artistic Director TABLE OF CONTENTS Page 3 Othello in Motorcycle Culture Page 4 Synopsis Tickets: 414-224-9490 Page 5 Characters www.MilwaukeeRep.com Page 6 William Shakespeare Mark Clements Page 7 Themes Artistic Director Page 8 Performance History of Othello Dawn Helsing Wolters Page 9 Motorcycle Clubs in Othello Managing Director Page 10 Creating The Rep Production Page 11 Classroom Activities MILWAUKEE REPERTORY THEATER Page 13 Education Standards 108 E. Wells Street Page 14 Visiting The Rep Milwaukee, WI • 53202 Othello Study Guide • pg 2 Lindsay Smiling. Photo by Michael Brosilow. -
No Fear Shakespeare – Othello (By Sparknotes, Transcription by Alex Woelffer) -1
No Fear Shakespeare – Othello (by SparkNotes, transcription by Alex Woelffer) -1- Original Text Modern Text Act 1, Scene 1 Enter RODMERIGO and IAGO RODERIGO and IAGO enter. RODERIGO RODERIGO Tush! Never tell me. I take it much unkindly Come on, don’t tell me that. I don’t like it that you That thou, Iago, who hast had my purse knew about this, Iago. All this time I’ve thought As if the strings were thine, shouldst know of this. you were such a good friend that I’ve let you spend my money as if it was yours. IAGO IAGO 'Sblood, but you’ll not hear me! If ever I did dream of Damn it, you’re not listening to me! I never such a matter, abhor me. dreamed this was happening—if you find out I did, you can go ahead and hate me. RODERIGO RODERIGO Thou told’st me You told me you hated him. Thou didst hold him in thy hate. IAGO IAGO Despise me I do hate him, I swear. Three of Venice’s most If I do not. Three great ones of the city important noblemen took their hats off to him and 10 (In personal suit to make me his lieutenant) asked him humbly to make me his lieutenant, the Off-capped to him, and by the faith of man second in command. And I know my own worth I know my price, I am worth no worse a place. well enough to know I deserve that position. But But he (as loving his own pride and purposes) he wants to have things his own way, so he Evades them with a bombast circumstance sidesteps the issue with a lot of military talk and 15 Horribly stuffed with epithets of war, refuses their request. -
The Unraveling of Shakespeare's Othello
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 The nrU aveling of Shakespeare's Othello Corey M. Jay Scripps College Recommended Citation Jay, Corey M., "The nrU aveling of Shakespeare's Othello" (2012). Scripps Senior Theses. Paper 117. http://scholarship.claremont.edu/scripps_theses/117 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Unraveling of Shakespeare’s Othello A Senior Thesis in Costume Design by Corey M. Jay Submitted to Scripps College in Partial Fulfillment of the Degree of Bachelor of Arts Professor Sherry Linnell Professor James Taylor Professor Arthur Horowitz Professor Eric Haskell Friday, April 27th, 2012 Table of Contents I. Introduction…………………………………………………………………………………………………….…………….1 II. Text Analysis………………………………………………………………………………………………………………….2 III. Characters…………………………………………………………………………………………………………………….6 IV. Plot Synopsis………………………………………………………………………………………………………………..14 V. Predominant Themes…………………………………………………………………………………………………..17 VI. Concept Statement………………………………………………………………………………………………………23 VII. Design Inspirations……………………………………………………………………………………………………….24 a. Pre‐Raphaelite Art Movement………………………………………………………………………….24 b. Alexander McQueen…………………………………………………………………………………………27 VIII. Production -
An Analysis of Power Desire of Iago in Shakespeare's Othello From
Journal of Literature and Art Studies, March 2018, Vol. 8, No. 3, 417-421 doi: 10.17265/2159-5836/2018.03.010 D DAVID PUBLISHING An Analysis of Power Desire of Iago in Shakespeare’s Othello From Psychological Perspectives HIND ABDUALLAH ALKOLI, Shi Ji Southwest Jiaotong University, Chengdu, China This study aims to investigate how powerful desires controlling and influence the play’s characters. In particularly Iago’s Power is probably the most important motive. Iago employed to manipulate Othello. It is clearly seen that Iago thrived in power because he loves manipulating people so that they do what he says. Othello indicates the power of desires, love and jealousy. The purpose of this study is to obtain a deeper understanding and analyze the character’s power and how Shakespeare used Iago’s power desires? To cause the tragic downfall Othello by using the psychological approaches. Shakespeare’s tragedies’ characters motivated by the power desires. Shakespeare shows that the human need, feelings, emotions and passions or desires may lead their owners to be mad if they surrender to them to go beyond the limits. This paper looks how Shakespeare shows the humanism by describing Iago’s desires in his play, Othello the most notable tragedies. Keywords: Shakespeare’s Othello, desires of power, psychology approaches Introduction William Shakespeare’s Othello is a play loaded with controversy, deceit, and manipulation, and most of the action that we generated by the play’s main manipulator, Iago. Critically, Iago’s character interpreted, among many things, as a representation of the devil, motiveless and a cunning manipulator.